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Inside Facts 

about the 

Cartooning and Illustrating 
Profession 

BY 

RALPH A. HERSHBERGER 
“Hersh” 

Formerly Cartoonist and Illustrator; The Cleveland Press, 
McMahon Syndicate, Comic Strip Artist, 

The Cleveland Leader 


STUDENTS INFORMATION BUREAU 

CLEVELAND, OHIO 
















COPYRIGHT. 1917. 1920, 

BY RALPH A. HERSHBERGER 











MAY -o tj20 


©Cl. A565858 




I 


V 




Introduction 


//J 


T HIS book is written for the benefit of Correspond¬ 
ence and Resident School students who are striving 
to make a success of the Cartooning and Illustrating 
profession. It is not a lesson in drawing as you might 
presume, but a bookful of information in regard to the 
professional side of newspaper work. It seems to be one 
of Nature’s laws that each one must learn by his own ex¬ 
periences, but why not benefit by some other artist’s trials 
and tribulations? 

For some time I have felt it my duty to place before 
the students these Inside Facts that are essential to the 
success of the newspaper artist of today. All of the 
information in this book has been obtained by me through 
the same years of struggling as many of the others have 
endured, and by being in actual contact with the pro¬ 
fessional men of today. 

In the following pages I have endeavored to state as 
clearly and precisely as possible, these Inside Facts and 
hope that they may prove to be as beneficial to you as 
these years of experience have been to me, and serve to 
throw a new light on your work which will lead to your 
ultimate success in the Cartooning and Illustrating field. 

Sincerely yours, 

Ralph A. Hershberger 


3 







CONTENTS 

Chapter. Subject. Page 

I How and where the Comic Strip Artists get 

their ideas ...-. 8 

II How to submit Comic Strips to Editors and 

letter to go with it. . 16 

III The salary to demand and the basis on which 

salaries are arranged on the Big Syndicates 18 

IV How to tell which publisher is the most likely 

to accept your work--- 20 

V How the Daily Cartoonists get their ideas 22 

VI The construction and requirements of full page 

Sunday Comics . 28 

VII The proper form in which drawings of full 
page Sunday Comics should be submitted to 
publishers and the proper number to submit 32 

VIII How to copyright Comic Strips and characters 34 

IX How most of the Newspaper Story Illustra¬ 
tions, Assignment Sketches and Sketches 
from Life are made .. 38 

X Why a certain number of artist’s work appears 
regularly in the Weekly Magazines, such as 
Life, Judge and others, and the right way to 
get started . 44 

XI How to get started making Cartoons and Illus¬ 
trations in your own town and make money 
at it . ..:__ 48 

XII Magazines most adaptable and generally used 
for Comic Strip work, Cartooning and Cari¬ 
caturing . 52 

XIII Publishers and Syndicates that buy Cartoons 

and Illustrations . 54 

XIV List of the principal Daily Newspapers of the 

United States and Canada with approximate 
circulation . ----- 

































. 


















How and Where the Comic Strip Artists Get Their 

Ideas 

CHAPTER I 

I T has been the unfortunate fact that the schools today 
teach the wrong methods which lead to the success of 
the Comic Strip Artist, and a great many of the 
schools do not actually know the methods used by the 
comic artist. They teach originality in strips which is 
necessary to a certain extent, but they do not teach the 
right principles upon which to build this knowledge. 

There are many definitions of the word Originality', 
and which are very often misconstrued. Originality gen¬ 
erally speaking is the means of producing something 
entirely new. This is the narrow definition of it and the 
one which often creates trouble, and makes work much 
harder. Originality as generally spoken of in the news¬ 
paper world is the means of combining a number of old 
subjects or stunts as you call them, but working them out 
in another way so as to make it appear original. There 
is just as much originality to this as therejs to the first 
phase of it—you are creating something new but you are 
basing your work on a solid foundation and can rest as¬ 
sured that it will pass ten times to one in preference to 
the one you have doped up as purely original. 

You may think your idea is just the thing, but you 
forget that the editor may think otherwise (considering 
his clients) as he must look at it from every standpoint— 
the business end of it as well as the artistic. What may 
appeal to you as A-l may not appeal to him, so why not 
follow the old standard which you may rely on to get 
past? 

When you have to sit down and think up something 
really funny that you have never read or heard of before, 
you are going to have an awfully hard task and when you 
do think of something it may not be humorous to the 

7 * 


people at large—the readers of papers. As a matter of 
fact it is almost impossible to think of something purely 
original—just try it if you don’t think so. Nine times oui 
of ten you think of an idea you have heard someone else 
spring or have read somewhere. There is very little of 
this original stuff in the newspaper world today, except 
in a very few instances. It is all old stuff hashed over 
and over again, but always applied in just a little differ¬ 
ent way. 

Have you ever noticed how many comic strip artists 
and daily cartoonists have used old ideas time and again, 
and you wonder how they got by? Did you stop to realize 
just how they were applied in a new way? This is the 
whole secret of the comic strip profession. 

You start to think up original ideas for your lessons 
on comic strips, but you seem to fail to get anything good. 
1 have experienced it and been discouraged, but there is 
no reason to be, for you have only gotten the wrong start. 
Merely because you can’t think of a few original jokes on 
the instant is no reason for you to think yourself a failure. 
Just the same as if you saw a good Juggler—keeping as 
many as six to twelve balls in the air at the same time. 
It is an easy matter for you to watch him, but try it your¬ 
self and see how quickly you will fail. You say, “I never 
could do that,” but you do not realize at that moment, 
that the Juggler has probably spent days and years at per¬ 
fecting this one thing. You say, what has that to do with 
this case? 

You cannot expect to make masterpieces to start 
with, jokes, drawing and all, without the necessary prac¬ 
tice and thought training, just as this Juggler has trained 
his eyes and arms. That is the big point in the comic 
strip art, and the biggest secret of all is, that you must 
have something to study and with which to train yourself. 

Study the other man’s art. This is the road that has 
led many young artists to success. Not only study the 
ideas but the technique as well, how the idea is applied, 
and just what point makes it funny to you. If you follow 

8 


your own course as to ideas and technique as schools in 
general teach you, you will never reach the goal you are 
striving for. You must follow in the footsteps of the older 
men and then branch out into originality afterwards or 
whenever the time is ripe for it. 

That is the story of the success of most of the big men 
of today. They in turn picked out a certain big man- 
studied him thoroughly and then branched out into the 
originality that has made for them their present fame 
and fortune. You must follow along some definite line to 
make a success. 

You say “This is copy work and that copy work will 
never get you anywhere.” It certainly will if rightly ap¬ 
plied. Copy a few of the drawings of the cartoonist you 
wish to follow up and then start drawing your own stuff 
but following his technique. After some time you will 
naturally from this fall into a technique of your own. 
Some papers demand that your work have a certain tech¬ 
nique which they prefer. 

Study the ideas well—day in and day out—and in a 
short time you will be surprised that you can sit down 
and think up an original idea. Perhaps an old one 
worked over. You must develop your sense of humor 
and you can do this only by studying the other man’s 
work until you can safely judge for yourself whether the 
idea is strong enough and just whether it will be accept¬ 
able to others. During this time you are training your 
mental capacity as well as just what ideas are good to 
sell, and that brings success. I know of no better way to 
develop your sense of humor than to read Comic Strips 
and jokes in weekly magazines, such as Life, Judge and 
many others which you can purchase at news stands. 
This is only the beginning, but half the battle and will 
give you an idea of just how to start along the right lines. 

Now the big question arises as to getting the ideas, 
and how to keep them up day after day, year in and year 
out. To keep this up seems almost an impossibility and 

9 


idea each day— something that no one in the world ever 
thought of before. 

One way to get ideas and which many Cartoonists 
use, is by observation, and that one word takes in a wide 
scope of things. You overhear a funny remark made by 
someone in a crowd, or perhaps you saw a funny inci- 
dent; jot them down in a little booklet or retain them 
happen; jot them down in a little booklet or retain them 
in your memory. Improve on them later and apply them 
to your own work. Study the points that make people 
laugh. You will find that it is always the unusual situa¬ 
tion. As for instance, the Mutt and Jeff Strips. They 
always start at the beginning of the Strip in a sensible 
conversation or act, but always end with the unexpected. 
Something different from that which would be the natural 
outcome, and that is the point which makes them good. 

Every day topics, current events, are good things on 
which to base a good many of your ideas, for they will 
always be up to the minute and at the same time inter¬ 
esting. You will probably remember before the United 
States entered the War, how Mutt and Jeff went to the 
Trenches in Europe, and the unusual things that Mr. 
Fisher had them do. This was interesting because that 
one subject was foremost in the minds of the people 
stronger than anything else. 

Also note for instance, how Walter Allman in the 
“Doings of the Duffs”—put out by the Newspaper Enter¬ 
prise Association—used Wilbur as an enlisted Private, 
and worked out unusual situations for him. It makes 
sort of a lead to follow. If you once get started on a 
certain line of ideas it is a simple matter to keep them up 
by applying everything you hear and incidents you see to 
this special line, and bring out just the opposite from that 
which the people are looking for. It may be in the read¬ 
ing matter alone, or in the action in the last picture. Some 
Strips diff er, many of them bring out their ideas in the 
wording and others by the action in the last picture. ThE 

10 



no man under the sun could do it and have a brand new 
all depends upon the kind of a Strip you are drawing. 

Another method of getting ideas and one which is 
quite frequently used by a good many of the Artists, is to 
work up into Strips, jokes they have heard at theatres, 
but always using their judgment and not springing the 
old stage jokes which everyone knows. 

For instance I have seen a certain comic strip artist 
on a Cleveland Service Syndicate make Strips using the 
identical jokes that he had heard at the Cleveland Hippo¬ 
drome, and which I had heard there the same week, but 
which probably thousands of other newspaper readers 
had never heard and of course he gets credit for them 
from those who do not know differently. This is no dis¬ 
credit to this artist, but he uses his discretion in doing 
these things and it has made him famous and gotten him 
into the right line of thinking so that he is able occasion¬ 
ally to take one subject he has heard, and probably make 
five or six Strips on that one alone. 

Another easy method used by many, is the taking of 
jokes from such magazines as Life, Judge and many other 
weekly comic magazines, and making the joke into a 
Strip. I have seen hundreds of them used by the Comic 
Strip Artists which I myself had read in one of these 
magazines. But the people, and there are hundreds of 
them, who do not read these magazines, give the Comic 
Strip Artist the credit for them. 

It is original for the fact that he has revised the joke 
to fit into his Comic Strip. That is the difference in the 
word Originality. This is where the schools teach you 
the wrong Originality. Real Originality comes only with 
development, as anything else, and this is the shortest cut 
to it, and makes your work productive while you are in 
fact leading to higher things and at the same time becom¬ 
ing famous as a humorist. 

There are numerous joke books that you can pick up 
at Book Stores—even some old ones. Revise them and 


11 


the majority of people and even the Editors will give you 
credit for them. If you are running kid stuff, such books 
as Peck’s Bad Boy, Plupey and Beany and many others 
will give you a great variety of ideas. That is how I 
worked out most of my Katzenjammer Kids for the Cleve¬ 
land Leader and got credit for them from Editor and all. 
Of course, revise them just enough to fit your Strip with¬ 
out losing the main point of the idea. 

Numerous books of the leading Humorists will give 
you many ideas—such books as the works of Mark Twain, 
Charles Dickens and many others too numerous to men¬ 
tion. You can get all these books by inquiring at your 
book stores and book agencies. Another book known as 
Miller’s Old Joke Book has given many an artist ideas. 
These same old jokes are hashed over and over again, 
but always applied in just a little different way. 

Here is the big secret of the success of a great many 
of the New York Syndicate Comic Strip Artists—such 
men as Herriman, Hoban, McManus and others. They 
get their ideas mostly from the foreign magazines, such 
as London Punch, London Sketch, London Tit-Bits and 
numerous others mentioned in the back part of this book. 
I have read jokes in Tit-Bits that Hoban used a few 
weeks later in his Strip—“Jerry on the Job.” All the Ger¬ 
man humorous magazines, Italian and French are also 
good. These are best to have, for very few people think 
of reading foreign magazines and hence the credit is all 
yours for the brand new joke. 

These are the facts that no schools will divulge to 
their students, or artists care about telling. It is the fun¬ 
damental principle of their success and which has 
brought them to the pinnacle of fame. Does it not seem 
an easier matter now? I do not say that every idea that 
appears in a Comic Strip is an old joke, for by following 
these methods they have so trained their minds that they 
can at ease “between acts” get up some real original stuff’. 
It is the development of your creating power. You un¬ 
consciously by this method develop your sense of humor 


12 


to such a high standard, that you can with little effort 
work up into ideas the little funny incidents and sayings 
of life. 

These are the real inside facts that lead to the suc¬ 
cess of the Comic Strip Artist and which you can also do 
with a little extra effort on your part. 

Study all the Comic Strips in the papers and find out 
just what characters you wish to incorporate into your 
Strip, and what kind of characters are more likely to be 
good. Then get these magazines and booklets and choose 
the ideas you can use along your line and put them into 
your Strip. If you should happen to live in the country 
or small town where they do not handle these books and 
magazines in stock, send to your nearest town book store 
for a list of these and a list of their humorist’s books, 
jokes, etc., and send for them direct. The magazines 
such as Life, Judge and foreign magazines you can get in 
any news stand or they can order them for you. 

If you follow these methods carefully and with dis¬ 
cretion there is no reason why you should not become a 
successful Comic Strip Artist in a very much shorter time 
than by following the old way of doing things. But be 
sure to bear in mind the following principles and use 
them in this work: 

Take your jokes from Life, Judge, London Punch, 
London Bystander, London Tit-Bits and the other maga¬ 
zines listed in the back part of this book, and revise them 
to fit your Strip. 

Use Theatre jokes whenever you think they are new 
enough. 

Practice Observation and apply it to your Strips. 

Copy Comic Strips until you acquire a technique of 
your own. 

Study the other mans work. 

13 

















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How to Submit Comic Strips to Editors and Form 
of Letter to Go With It. 

CHAPTER II 

I N submitting comic strips to publishers it is a profes¬ 
sional rule to send six strips. That means enough car¬ 
toons for one week’s service. It gives the editor a 
chance to see how you handle your ideas and just how 
you follow up your subjects. He can tell by looking at 
the week’s work whether your jokes are strong enough 
and whether you are able "to follow up this certain strip 
with jokes equally as good from day to day. If he thinks 
you are not capable of keeping them up he will turn them 
down. 

All syndicates make contracts with newspapers for 
one year for the service of a certain strip, and if the art¬ 
ist falls down on the job the contract is void and the pub¬ 
lisher loses the money. 

Draw your Strips 20 inches long and 5 inches wide 
and then divide into panels any way you wish. This is 
about the regulation size used by most of the papers. 

Never send your drawings to the publisher, rolled. 
Nine chances out of ten he will return them without even 
looking at them. They are very; hard to handle, espe¬ 
cially heavy bristol board after once being rolled will not 
make the neat appearance that it did before, and are not 
as easily accessible as the flat ones—; so mail them flat. 
Draw only one strip on a sheet and leave about a two-inch 
border all the way around. That will make six sheets 
and easily stiff enough, when packed together, without 
using any heavy card-board to brace them. 

Address your cartoons and letter to the “Art Direc¬ 
tor” of whatever publication you may send it to and 
always enclose enough stamps for return. For if one 
publisher refuses them another one may not. 

15 


Below is a good form of letter to follow. Always 
keep it simple, never tell them how long you have studied 
or what course you have taken, because it will not 
have any weight with them, and merely keeps them from 
giving your letter the proper attention. Keep your letter 
simple, precise and to the point: 

Art Director, Chicago Tribune, [or whichever one 
you may be addressing]. 

Dear Sir: 

Under separate cover I am sending you six cartoons 

of comic strips called.. .which I have 

originated. 

I wish you would kindly look them over, and see if 
you have a market for them. If you cannot use these, 
kindly return them to me, using the enclosed postage, 
and oblige, 

Very truly yours, 


If you follow this system, you will receive none but 
the most courteous treatment from editors and pub¬ 
lishers. 


1C 




The Salary to Demand and the Basis on Which 
Salaries are Arranged on the Big Syndicates 

CHAPTER III 

I F you have a good strip and the editor accepts it, it is 
a very good policy to let the editor or publisher fix 
the salary, for they are in a better position to know 
what they can afford to pay for a new strip. 

As a rule, new strips start anywhere from $25 a week 
up. Very few receive this small salary unless they have 
just started with it. If a strip goes well, they will soon 
raise you, but as a general rule, it is fixed on the following 
basis and guarantees you a definite income, with good 
prospects for a great deal more money. They will set a 
definite salary for you each week which covers the 
amount of service they start with. Syndicates call the 
newspapers their clients, so each paper that buys from 
the syndicate is considered a client. 

Let us say, for example, you receive $30 a week for 
drawing cartoons, which go to ten different clients. After 
that, every time they add five or ten clients—whichever 
it may be—you are raised $10, and so on, until with prob¬ 
ably a hundred clients—(and many big syndicates have 
many 1 more)—your salary will reach $130 to $150 a week; 
in fact you are getting a royalty on your drawings, and it 
keeps you hustling for good ideas. For the better the 
idea, the faster they sell and the higher goes your salary, 
so you will be ahead in the long run. 

If you were satisfied with $50 a week regular salary, 
and no such arrangement, see the money you would be 
losing. I would always advise that you take the royalty 
basis, for it means more in the end. 


17 




How to Tell Which Publisher is the Most Likely to 
Accept Your Work 

CHAPTER IV 

N OT all syndicates like the same style of comics, that 
is the technique of the drawing, as well as the type 
of humor. The best way to tell which publisher is 
the more likely to accept your work, is to study carefully 
the comic strips that each syndicate puts out. 

For instance, the Wheeler Syndicate and Interna¬ 
tional Feature Service prefer their cartoons worked up 
in Mutt and Jeff style, like Herriman’s “Baron Bean” and 
Iloban’s “Jerry on the Job.” This distinct type of car¬ 
toons with more or less of fine shading, is well adapted 
for their class of work. On the other hand, these would 
not be acceptable to the Newspaper Enterprise Associa¬ 
tion, which furnishes comics for all the Scripps-McCrea 
League of papers. They prefer a heavy line drawing, 
more outline than shading. Thus you see the difference 
in types of cartoons used by the various syndicates. 

A comic strip drawn up in Mutt and Jeff technique 
would not be considered if sent to the Newspaper Enter¬ 
prise Association, because they prefer heavy line stuff 
and very little shading, while a comic strip of this type 
(heavy line drawings) sent to the International Service 
would not be accepted for it is of the opposite type from 
their set style. 

After you have your comic strip all drawn up, study 
carefully all the strips of the different syndicates and see 
with which one yours compares the most favorably in 
technique and type of humor, and send it to that one. 

Syndicates, as a rule, will not consider a comic strip 
that is not drawn up in the style which they have adopted 
and are using. You will always find it more successful to 
follow up this policy in selecting a publisher than by 
sending them out blindly to all the syndicates. 

19 


How the Daily Cartoonists Get Their Ideas 

CHAPTER Y 

A S a rule the editor and the cartoonist go fifty-fifty on 
ideas. The editor furnishes nearly as many ideas 
as the cartoonist does, but the cartoonist gets credit 
for all of them. The editor mostly tells you along what 
line or subject he wants the cartoon and lets you work it 
out. Very often, as is the case on all the Scripps papers, 
the ideas are suggested at the regular staff' meeting each 
morning, by anyone from the cartoonist down to the So¬ 
ciety Reporter. In a very few instances, however, the car¬ 
toonist is given absolute control, but most of the big car¬ 
toonists today undoubtedly owe a part of their success to 
someone else on the newspaper staff. 

This same suggesting of ideas by the editor and 
others, has taught them along the right lines of thinking 
and selecting subjects for their cartoons. It has taught 
them to look at their subject from every angle. 

Some of the principal points to bear in mind when 
first going on the job are: 

Is your cartoon in keeping with the policy of the 
paper? Is the subject you have selected the most popular 
one for the day? Do you thoroughly understand the 
situation so that you are not laying the newspaper open 
for any controversies? Do you know how to arrange the 
composition of the picture to bring out the point of the 
cartoon to the best advantage, and last but not least, is 
your idea strong enough? 

The ideas? Current event news is the only big source 
from which you can draw your subjects. Again, you get 
your ideas from Observation; be careful to observe every¬ 
day events and incidents, and also portray pictures of im¬ 
possible things. Let your imagination work here, for 
your picture instead of the wording must bring out the 

20 


idea. Apply your observation of events and incidents to 
your cartoons. 

Application is the big word in the daily cartoon work, 
and the only way you can become a master of this is by 
watching another man’s work. Pick out one of the lead¬ 
ing cartoonists and study his work day after day, and 
watch just what subjects he uses and what everyday ideas 
lie applies to them. Watch how often he changes his sub¬ 
jects. I know of no better way than this to develop ideas 
in daily cartoon work. Study his work thoroughly and 
soon new ideas will come to you, or probably old ones, 
which you can work up in a new way. Train yourself 
along one definite line. 

Copy his cartoons direct at first, until you get the 
technique down pat and then start to draw up your own 
figures in his technique. After doing this for sometime, 
you will unconsciously fall into a technique of your own. 
That is the way all the big cartoonists today have gotten 
their start. 

Donahey of Cleveland Plain Dealer nearly copied 
Charles Nelan outright when he started, and in a few 
years had developed into a style all his own. Harry 
Keyes of the Scripp’s papers, studied Satterfield’s work, 
and also Johnny Gruelle’s, and Gruelle in turn had studied 
Satterfield, until they more or less fell into a style all their 
own. But above all things, do not attempt to develop a 
style of your own or rely on your own composition until 
you have studied one of the big men first, and followed 
in his footsteps until the proper time comes to branch out 
for yourself. 

You are learning by leaps and bounds when you 
copy and study another man’s work, but if you attempt 
to thrash everything out yourself, you are harming 
yourself and wasting time. You develop by practice and 
you must have a standard to follow. The easiest way to 
select a technique is to get a Cartoons Magazine in which 
all the big cartoonists’ works are published, and study 
them thoroughly. Select one man and follow him up. 

21 


Otherwise, one time you will make a cartoon one style, 
and the next time another technique, and you get no¬ 
where. 

One of the methods used by daily cartoonists is to 
apply jokes from Judge, Life and other magazines, to 
political situations or other subjects. For instance, dur¬ 
ing the last presidential campaign, I was called upon to 
make a cartoon. I couldn’t think of anything suitable 
for some time; finally I picked up a Life magazine and 
on the second page found a picture of cupid playing a 
harp with one string labeled Love. Right then and there 
I got my idea for the day’s cartoon. At the beginning of 
the campaign Hughes was continually talking about the 
Mexican Siuation—“easy as rolling off of a log.” I drew 
Hughes in Cupid’s place and had him twanging on one 
string labeled “The Mexican Situation,” and captioned 
the cartoon—“Always harping on one string,” and made 
the hit of the season, several editors commenting upon it. 
This is just to show you how you can apply jokes to poli¬ 
tical situations and the method used by many cartoonists. 

Apply the joke in the right way and you have some- 
hing almost purely original, but sure you have some¬ 
thing good. 

But the best method of all and mostly used by the 
big cartoonists is, to get the Foreign Magazines, German, 
French, and English, in which numerous cartoons of the 
old world are depicted and adapt them to local condi¬ 
tions. You get full credit for them because very few 
people read foreign magazines. Here are the names of a 
lew magazines most generally used: : 

The London Bystander. 

London Punch. 

Land and Water, London 

Pall Mall Gazette. 

Le Rire Paris. 

LTllustration Paris. 

Pasquino Italy. 

Lustige Blaetter Berlin. 


22 


Kladderadatsch Berlin. 

Die muskete Vienna. 

De Nieuwe Amsterdammer Amsterdam. 

Der Guskkasten Munich. 

These are nearly all obtainable at news stands. 

This is another fact schools do not tell you, and is 
one of the shortest cuts to success in this line. Why not 
benefit by another man’s work while you are still devel¬ 
oping and training yourself to think properly. All the 
big men have done these things and are successful today. 

Another big factor to remember is “Comparison.” 
Try to adapt a "certain political situation to an incident 
you have seen or joke you have read. This is one of the 
quickest ways to develop. 

Clip out all kinds of pictures and file them away; 
any kind that you think you might be able to adapt or 
use in a cartoon, or that may suggest an idea. You will 
then find some day when ideas are hard to get, you can 
just pick up your file and leaf through them, at the same 
time studying each picture to see if you can’t adapt the 
situation you wish to depict to this picture, or it may sug¬ 
gest an idea to you. Very often you will find a picture 
"to which you can adapt your idea and the strain of the 
day is over. 

If you are devoted mostly to real comic drawing 
in your cartoons and you are called on to do a 
serious one, try to have a picture in your file in the posi¬ 
tion you want your cartoon, and pantograph it thus, get¬ 
ting good proportions and work it up in your own tech¬ 
nique. This does away with a great amount of work and 
you will have better results in the end, for serious cartoons 
are hard to draw after you have been doing the slam bang 
stuff. Last of all, if you will carefully follow the above 
suggestions in regard to getting up cartoons you will have 
a much shorter road to an actual position and to success 
in this special line. 


23 


The Construction and Requirements of Full Page 
Sunday Comics 

CHAPTER VI 

T HERE is more to the construction of a full page Sun¬ 
day Comic than many artists realize. It is not only 
the joke at the end that makes it good but the way 
you lead up to it. The drawing of full page Sunday 
Comics is almost identical with writing music. What 
kind of music would you hear, were you to listen to a 
piece written to be played with the same tone all the 
way through, never louder nor softer at times. It would 
be mighty flat as you would call it. 

The same thing applies to the Sunday page. You 
must have your climaxes just as you have your accentua¬ 
tions in music. This is not generally known outside of 
Sunday Comic Page Artists and Editors, and accounts for 
a great number of new comics falling flat as the Editor 
would say, and turned down. 

I 

Most Sunday Comic Aritists have from three days to 
a week to make their page. The first day they plan out 
their story and divide it up into parts and arrange the 
Climaxes. Perhaps they spend the first two days in ar¬ 
ranging this, lightly sketching in the figures, actions and 
rearranging the wording in the balloons to bring out the 
story to the best advantage. The third day they ink up 
the drawing and perhaps make a few more corrections 
in the meantime and plan out the color scheme. 

There are generally twelve panels or blocks, as some 
call them, to a full page. The original drawing is from 
three to four inches larger all around than the printed 
one, which gives you more room to work and allows for 
reduction. The best plan to get the proper dimensions 
for this is to take almost any ordinary Sunday Comic 
Sheet and lay a yard stick or T Square from the upper 

24 


left hand corner—(that is the upper corner of the first 
block) and run a line through the right hand lower corner 
(of the bottom block on the page) and extend it perhaps 
3 inches past the corner. Mark this point “A.” Then 
draw a line perpendicular from this point “A” to the top 
line of the Comic Sheet, (that is extend the top line of 
the Comic Sheet to meet this perpendicular line). You 
now have the width. Then draw a line from this point 
“A” parallel with the bottom line of the Comic page to 
the lett until it is crossed by the left perpendicular line 
of the page. You now have the big proportions correct 
for reduction. 

The right size is absolutely required by publishers 
tor they haven’t time to change the drawings. You then 
work out the other blocks accordingly to fit this space, 
drawing a diagonal again from the upper left hand cor¬ 
ner through the lower left of each strip of three blocks; 
that way you will get them all equal. 

Now as to the Climaxes. In the Daily Strips the part 
that generally brings the laugh is the last panel or block 
and this is called the Climax to the picture. Daily Strips 
generally have about five panels and hence require as a 
rule but one climax. If six panels are used, such as Ahern 
on the Newspaper Enterprise Association, there is a semi¬ 
climax in the third panel and the final one in the last 
block. 

Now the full page Comic. There should be a semi- 
climax every second or third panel leading up to the final 
climax at the end. This is the secret of the construction 
of a full page Sunday Comic and which puts the life 
into it. 

Arrange to have peculiar situations every second or 
third block but not too strong or ending the work too 
quickly, but all leading up to the strongest point in your 
story, the final climax. Study carefully the Sunday 
Comic pages, especially “Polly and her Pals,” “Slim Jim,” 
“Kazenjammer Kids,” “Happy Hooligan” and many of 

25 


the others and you will soon understand what is meant 
by climaxes as used in full page Sunday Comics. Follow 
up these principles carefully and you will soon be able to 
put as much PEP into your work as the ones you see 
daily. 

In drawing full page Sunday Comics you must rely 
mainly upon your imagination for ideas. Study carefully 
the Sunday Comics and see just about what subjects are 
used. When you have your own characters you can se¬ 
lect the subject that you think suitable for them, but be 
sure to get plenty of action. Action is one ot the big 
essentials in full page comic work. 

There is no general source from which to get ideas 
for this work. The best plan is to select a subject, per¬ 
haps a touring trip, detective or policeman’s troubles, new 
autos, seasonable subjects such as Christmas, Washing¬ 
ton’s birthday, Decoration Day, Fourth of July, Labor 
Day, Thanksgiving, etc., and have your characters follow 
them up. That way you can get new ideas on the same 
subjects. Watch how “Polly and her Pals” and the Kat- 
zenjammer Kids change subjects from time to time and 
you will soon get the right hunch on Comic page work. 


26 


The Proper Form in Which Drawings of Full Page 
Sunday Comics Should be submitted to Publishers 
and the Proper Number to Submit 

CHAPTER YII 

M OST of the Artists, especially those never having 
had any experience on newspapers doing color 
work, have the idea that they themselves color their 
drawings upon finishing them. This is wrong, because it 
is impossible to make a zinc etching when the color is on 
it, and most places have their own special methods of 
coloring. 

Leave your drawings in black and white. The Ben 
Day man on the Art Staff* will color them himself for he 
understands the process. You may throw spots of color 
on the figures, etc., that you would like to use, but it is 
best to leave them off and in fact is the only proper way 
to submit your drawings to publishers —in black and 
white only. 

You can roll these big sheets in submitting them, or 
flat as you wish, and submit no less than four at a time 
for that will mean a month’s service. You are generally 
expected to keep a month ahead on this work and at the 
same time the publisher will see whether or not you can 
keep up indefinitely the series you have started. It will 
show him just what you can do. 

Send your drawings the same way as explained be¬ 
fore (of course rolling them if you wish), and enclosing 
stamps for return. Always address them to the Art Edi¬ 
tor of the Syndicate to which you are sending them. 

The salaries of full page Sunday Comic work are 
arranged on the same basis as for daily strips. 


27 


How to Copyright Comic Strips and Characters 
CHAPTER VIII 

I T is very important that you protect the name of your 
strip and the characters in it. For should you by 
chance submit a very clever name for a strip or char¬ 
acter to a syndicate or publisher, he could claim it as his 
own, and you would have no way of preventing him from 
using it or claim any damages. It is not very often that 
this happens, as most publishers give credit where credit 
is due and do not use such tactics. 

However, it is a good plan to play safe and have your 
work copyrighted. For should you at any time be under 
contract with a syndicate for whom you are drawing a 
series and wish to change syndicates, you will be able to 
take your strip with you at the expiration of the contract. 
You may do with it whatever you please when the con¬ 
tract expires, and the government will protect you. 

If you allow the syndicate to copyright your series, 
you will never be able to claim it as your own. They can 
let you go at the expiration of your contract and get some¬ 
one else to draw it and you will have absolutely no re¬ 
course to law to protect you. This has happened in a 
number of cases. 

The expense attached to copyrighting a strip or char¬ 
acter is very small. A fee of one dollar is charged by the 
copyright department for such a transaction. Your copy¬ 
right holds good for 28 years from the date of copyright, 
which time allows you to reap the benefits of your work 
without interference. 

The name of a character, such as “Jerry on the Job,’' 
“Jake the Janitor,” “Louie the Lawyer,” etc., can be copy¬ 
righted and no one can use it, but it does not prevent any 
one from drawing the same characters under another 
name. The name is all which you really can protect. As 


28 


for Sunday pages and strips with clever names, the name 
and the names of the characters in the strip cannot be 
used if copyrighted. For instance, take “Polly and her 
Pals,” drawn by Cliff Sterrett, you may copy the figures 
of each one of his characters, such as Pa Perkins, Polly 
Ashur, etc., but you cannot give them these same names, 
neither can you use the ideas, as each page or strip is 
copyrighted by the publisher. 

If you wish to copyright a strip, which bears more 
than just the name of the character, such as “Doings of 
the Duffs,,” “Bringing up Father,” etc., draw up the strip 
showing most of the characters in it, and showing the 
names of each one carried out in the conversation. This 
will protect practically all of your characters. Send this 
strip to the copyright office. 

In case of a Sunday full page, just make a single 
drawing, probably 4 by 10 and just draw on it each one 
of your characters, with the name of each one. This does 
away with sending a large sheet which is hard to handle 
in the copyright office. 

If you wish to copyright only one character, such as 
“Jake the Janitor,” “Jerry on the Job,” draw just one 
figure about 3 to 4 inches high on bristol board, and send 
it in. 

The best way, when you are ready to copyright a 
drawing, is to write directly to the Library of Congress, 
Copyight Office, Washington. D. C., and ask them to send 
you blanks, which you will fill out and mail together with 
your sketch. 

To aid the Copyright Office and to keep your work 
from going astray, it is a good plan to follow these rules: 

1. Address plainly all mail or express matter—Reg¬ 
ister of Copyrights, Library of Congress, Wash¬ 
ington, D. C. 


29 


2. Add on outside of parcel the name and address of 
sender. 

3. Mail the copies, application and fee all at the 
same time, tho not necessarily in the same pack¬ 
age. Your drawings should be mailed separately 
and your application for copyright, accompanied 
with a money order for $1.00, in a letter. 

4. Do not send currency, or coin, or postage stamps 
for fee; but preferably a money order. Private 
checks, not certified, "are not acceptable, and if 
sent will be returned. 

In due time you will receive a certificate of copyright 
of registration, stamped with the seal of the Copyright 
Office. On this certificate you will find the number of the 
registration, which compares with the entry made at the 
copyright office. 


30 


How Most of the Newspaper Story Illustrations, 
Assignment Sketches and Sketches From 
Life are Made 

CHAPTER IX 

T HE biggest secret about the story illustrating is the 
artist’s morgue, in other words, his stock of clip¬ 
pings to which he refers. 

It is a hard matter for a beginner—and a number of 
the old professional men, to sit down and create a well 
proportioned figure without a model or at least a clip¬ 
ping. Only artists that have had years of training in Art 
Schools are capable of doing this and then very seldom 
do they draw them without a model. Such illustrators 
as Charles Dana Gibson, Howard Chandler Christy, 
Clarence Underwood, Lyendecker Bros., Andre Castigne, 
the late Raphael Kirtchner, Coles Philips, and many oth¬ 
ers use models, while the majority of newspaper story 
illustrators use clippings, for they haven’t time to work 
from models. 

You will find, the best of the newspaper illustrators 
have the largest morgues and an unlimited stock of clip¬ 
pings to refer to. 

It is impossible to memorize all the different cos- 
'imes used in pictures as well as types of characters. 
You may have a faint idea of the costume of a certain 
subject you are going to draw, but when you really start 
to work it up, you are more or less in the blind as to the 
correctness of it. Unusual poses, actions and composi¬ 
tions are necessary to make a good illustration and you 
may spend hours trying to pencil up just the action and 
composition you want, and then not get satisfactory re¬ 
sults. Why not make work easier and refer to your stock 
of clippings? 

When a newspaper illustrator receives an order to 
illustrate a certain story, it is brought to him typewritten. 

31 


He reads it carefully and picks out the places where the ; 
illustration should come to make the story most interest¬ 
ing, After carefully reading the story and studying the j 
characters in it and the costumes described, he proceeds 
to go through his “morgue,” or rather clippings, and 
chooses the pictures most suitable for this work. 

He then copies them or pantographs, according to the 
method he uses; perhaps taking a figure from one clip¬ 
ping, and a figure from another in a different pose, and 
combines the two, arranging them in the best possible 
composition. He then works it up in his own technique, 
and not one reader in a thousand will ever be able to tell 
that he did not actually originate it. 

This is where the word Originality plays an important 
part again. It is original, and it is not original; from the 
Art standpoint it is not original, but from the newspaper 
standpoint it is the most practical and remunerative 
method. It is original but in this way, he has created a 
new picture by combining the figures or perhaps the 
backgrounds of several pictures. This is one of the quick¬ 
est methods of developing your draftsmanship and the 
one universally used by the newspaper illustrators today. 

If you have not started a morgue, begin at once. Get 
as large a number of clippings as possible, but be sure to 
keep only the best pictures in it. The best kind of clip¬ 
pings to get are the photographs in the Photo Play maga¬ 
zines. That is where most artists get them. In them you 
will get a wide variety of characters, unlimited number 
of actions and backgrounds and always correct. Get a 
letter file or cabinet and file them according to the alpha- , 
bet or according to your most convenient method. Each / 
artist generally indexes them to his best advantage and 
in the way he can easiest reach them. The photo play 
magazine clippings are best for action. Then clip illus¬ 
trations you like best from the good story magazines for 
technique and composition, or perhaps backgrounds and 
sceneries. Get as complete a line of characters and cos¬ 
tumes as possible. 


32 



You are now ready to make illustrations. Study 
carefully just about what you want. Go through your 
morgue and pick out the figures with the actions and cos¬ 
tumes you think most suitable; arrange them carefully 
and work up in your own technique and you will be sur- 
prised at the results. 

The best plan, the fastest and perhaps the most prac¬ 
tical for speedy work is to use the pantograph. Panto¬ 
graph your figures from clippings and work them up 
carefully. This way you will have good figure propor¬ 
tions, good action and a very attractive illustration. This 
is the method used by most of the illustrators on the 
Scripp’s papers and has brought good results. It is the 
only safe way of getting good proportions and actions to 
figures where your time is limited. Magazine illustrators 
have time enough to work from models because their 
work is nearly all done by contract. Illustrations for 
Sunday Magazine sections of Newspapers generally have 
time to copy from clippings without using a pantograph. 

Assignment sketches are the most limited on time. 
\ou may be sent out on an assignment and have perhaps 
only an hour and a half to make your preliminary 
sketches and get back to the office and finish up a work¬ 
ing drawing. If you start to draw a big assignment sketch 
without using clippings or pantograph it will take you 
two or three times as long, with poor results. Why not 
do it with the fastest and most practical method? 

The best assignment Artists on Newspapers today al¬ 
most without exception use the Pantograph for this work 
and a:re in a class by themselves known as speedy men. 
The speed with which you do this kind of work brings 
your raise in salary and your work will always have a 
finished appearance. 

Let us suppose you were sent out for a Court Room 
sketch, perhaps of a big murder trial. Take a small pad 
and make simple sketches of the characters and about 
the positions in which they are arranged. When you get 

33 



back to the office, go to your morgue and pick out the 
Court Room sketches you have filed away and select the 
one nearest to your arrangement. Pantograph it off 
quickly, heads and all. Then change the heads to fit the 
special characters for which you have made pencil 
sketches. 

Draw on these heads the features and characteristics 
of the special man you wish to represent at the trial. Now 
ink up in a simple way, using the technique you have be¬ 
come accustomed to using and you will have an A No. 1 
Court Room scene. Perhaps it will be necessary to com¬ 
bine a few positions from one of your Court Room scene 
clippings with another one, to make it complete. This 
will make it appear original because it has been worked 
up in your own style and you will get credit for it. 

These facts the Artists on Newspaper staffs are rather 
reluctant to disclose to a new man on the job. So if you 
know ahead of time it is an easy matter to cope with al¬ 
most any situation. 

The same methods can be used on Dope Raid assign¬ 
ments, Sea Disasters, Fires, Train Wrecks, Explosions, 
Automobile Accidents and many others. Keep a complete 
morgue of as many subjects as you might think will come 
up for use and you will be prepared to meet any emer¬ 
gency. The same methods can also be applied to sketches 
from life. 

Say, for instance, you were sent out to make a head 
sketch or perhaps a full figure drawing of a well known 
person or celebrity. You are sent with the Reporter. 
Make a quick pencil sketch, jotting down the general fea¬ 
tures and characteristics of the man, kind of coat and 
collar, etc. Sketch in the features as well as possible. 
Your drawing will have to be finished and in the hands 
of the engraver by the time the Reporter has written his 
story. The story may be about his personal adventures, 
perhaps about his rise from a Root Rlack to a Rank Presi¬ 
dent or a high official. Get your large sketch of him as 

34 


he really appears today and then fill in along-side, small 
pictures of one or two or three of the leading incidents 
mentioned in the story which brought him on the way to 
success, etc. 

When you get back to the office go to your morgue 
again. Select the principal figure from your clippings, 
say perhaps a three quarter length figure. Pantogaph 
it on to your paper but be careful to get the clipping to 
conform with the figure of the person you wish to sketch, 
a thin or fat man—tall or short. After pantographing 
change the features and shape of the head to fit the per¬ 
son you wish to sketch. 

You now have the big proportions of the sketch and 
all that is necessary is to change these features to conform 
with your character. Then what space is left (all de¬ 
pending upon how much space you are allotted, generally 
two or three column drawing is sufficient for such work), 
sketch in your smaller incidents in small figures, say per¬ 
haps a Boot Black, a driver on a Milk Wagon, a Sailor, 
etc. Dig into your morgue for clippings to match up 
these incidents and pantograph them around your central 
figure. Often times these clippings are large enough that 
you can trace them through direct with a hard pencil and 
tracing paper underneath, then ink up carefully and 
simply in your own style, putting most of the color and 
shading into your central figure and leaving the Incident 
Sketches in outline. You then have a good sketch from 
life and in one-half the time it would take you otherwise. 

If you have photographs of your person to work 
from, so much better to start with, but very seldom they 
have on personal interest stories. I have seen some of the 
biggest illustrators on the daily newspapers use this 
method and it has made them the success they are today. 


35 




Why a Certain Number of Artist’s Work Appears 
Regularly in the Weekly Magazines, Such as 
Life, Judge and Others, and the Right Way 
to Get Started 

CHAPTER X 

I T has no doubt been a puzzle to a great many students 
and others, why certain artists’ work appears regularly 
in these magazines. One big reason is study, and an¬ 
other is persistency. Don’t give up if you are turned 
down the first time. Another reason is the influence some 
of them have by living in New York City, and being in 
constant association with these art editors. 

Such men as Johnny Gruelle, Ray Rohn, Orson Lo¬ 
well, R. R. Fuller, Crawford Young, Kemble and many 
others, all live in, or near New York City, and are in con¬ 
stant touch with these editors. They know just what sub¬ 
jects are desired from time to time, and also have studied 
the policies and standard of jokes these magazines re¬ 
quire. Hence they are in a position to turn out only what 
is desired by the editors. Many others live in distant 
cities, but are kept in touch with these editors by having 
another well known artist in New York act as their sales 
agent, who gets a commission for handling their work. 

You can get in touch with these only after you once 
get work published and yiour name established. They 
“free lance” all their work as these magazines carry no 
regular staff, but when these men have once contributed 
and gotten started right, they have made a name for 
themselves and become established. The editors, more 
or less, look to them for regular contributions, as they 
can produce the work they desire.. Resides this, they also 
buy the best of the rest of the submitted work but on 
merits only. 


36 


These men in New York have had just as hard a time 
to get started as you or I, hut instead of giving up at the 
first attempt, they kept on sending drawings to the editor 
until he did accept some and in that way got started. 
After you once get started to sell them work, they will 
look forward each week for a contribution from you. 

If you wish to contribute to these magazines, I would 
suggest that you start with single column comics they can 
use to fill in, and gradually as you get work accepted, 
enlarge to two or three columns. Instead of sending a 
whole bunch of drawings, send only one or two at a time 
and keep it up every week, no matter how many are 
turned down, and you will sooner or later slip one past 
the editor, and you have your start. The editors generally 
prefer to accept the work of the ones who show a knack 
for sticking to it, and who continually improve on their 
work. 

If your drawings come back, study them carefully 
and try to find the reason why they were not accepted and 
then try to improve on that certain point until the editor 
has no more loop holes. Compare your work with the 
cartoons and illustrations in these magazines and see 
whether it is humor you lack, technique, correct drawing, 
or some other thing. In this way you are advancing rapid¬ 
ly toward your goal although you are not realizing it at 
the time. Try to follow the style of drawing generally 
used in these magazines, as they are very reluctant to 
publish work alogether different in technique from that 
which they have been using. 

Study and read carefully all the jokes in these maga¬ 
zines to develop your sense of humor and to judge for 
yourself whether your idea is strong enough to get by. 

The drawings and jokes in these magazines are 
mostly all original and written by the best humorists in 
the country, so you can plainly see why your joke as well 
as the drawing must be of such a high standard to be ac¬ 
cepted. If your joke is good and strong and you are a 

37 


little weak on the drawing, it will generally be accepted 
anyway. For it is the joke alter all that sells the picture. 
These New York men, with years of training, and study in 
this line, have brought themselves to the point where they 
can with ease, originate their own jokes and ideas, and 
you will be able to do the same with a little hard study 
and practice on your part. 

The pay for drawings of this kind is good, and will 
be well worth your while to try it. 


38 



How to Get Started Making Cartoons and Illustra¬ 
tions in Your Own Town and Make 
Money at it 

CHAPTER XI 

I T is an easy matter to make your cartoon work pay if 
you get started right, no matter how small the town. 
One of the best ways, if the town is large enough— 
perhaps from fifteen hundred up, is to run a cartoon 
book of the prominent citizens. Say for instance, you 
were running one in Cleveland, call it “Prominent Men 
of Cleveland as seen in Cartoon,” or perhaps if running 
it through an organization such as Eagles, Elks, Odd Fel¬ 
lows, etc,, the different clubs in town, call it “Cleveland 
(or whatever may be the name of your city) Club Men 
in Caricature.” 

Get the cost of publishing the book, that is the print¬ 
ing, the etchings, binding, cover, etc., from the printer in 
your town, and then arrange your price per cartoon ac¬ 
cordingly, allowing yourself a good profit. Then canvass 
these prominent persons, stating just what you are doing, 
and get them to sign a contract which calls for an original 
cartoon of themselves and also the book in which they 
are to be printed along with their fellow citizens. Then 
collect half value of contract to help defray expenses and 
for security with your printer and collect the balance 
when the book is delivered. 

$25 a piece is generally what you get for cartoon 
books of this kind. 

Draw the heads from their photographs, making 
them from three to four inches high, put on small body 
about four inches high, and cartoon them at their business 
or at their hobby. It is best to draw them on a sheet about 
twelve inches square, that will allow for one-half reduc¬ 
tion and make the pictures in the book all six inches wide. 

39 


Pencil up all your sketches first and have them O. K.’d by 
the party before inking, as they may want some changes 
made. Ink up the head just like the regular newspaper 
portrait work and then caricature the rest. 

This work is very remunerative and interesting be¬ 
sides the practice you get out of it and in the end you have 
a book of reproductions of your work to show for 
samples. 

If the town is too small to run a book, take one 
organization at a time, say perhaps twenty to twenty-five 
members of the Eagles, and print them on a sheet of good 
paper; have them framed, giving each one a copy and 
presenting the last one to the Club or Lodge. This you 
can do for about ten dollars a piece and make a good 
profit. Group ten to a page, probably 18 by 22 or so, and 
make your reproductions only four inches square. Draw 
them up same method as explained before. You can 
then sell them the original cartoons framed besides the 
print or you can include this in the contract from the 
start. 

If you live in the country get up a book of farmers 
in Cartoons, including all those in county or township as 
it may be, getting eight or ten dollars for these. Get a 
good reasonable price from the printer, arrange your 
price accordingly. 

If you find it too difficult to publish a book or printed 
sheets, sell only the original cartoons framed, for say five 
dollars. You can get them framed for sixty cents apiece 
and the rest is profit for you. As a rule, the people in 
general are very fond of original cartoons of themselves, 
especially framed ready to hang on the wall. If you fail 
on the other stunts you can not help but make good on 
this one. 

Tell your man you wish to cartoon him at his busi¬ 
ness or hobby as he may wish. If he is an attorney, have 
him seated at his desk with law books piled around him, 
or possibly standing up delivering a speech, etc. A Doc- 

40 




tor, examining patients or filling prescriptions at desk. 
Dentist, pulling teeth; County Treasurer, sitting on a 
small bank representing the County Court house, with 
bags of gold lying around. 

There are numerous ways of cartooning them, per¬ 
haps they play golf, baseball, billiards, bowl, hunt, yacht, 
motor, play cards, fish or do many other things. Always 
try to cartoon them the way they want it unless they tell 
you to use your own idea. 

Another good way to make money, is to draw car¬ 
toons for window displays for business places, such as 
banks, drug stores, dry goods, hardware, etc. A new one 
every one or two weeks for say five dollars apiece or 
whatever you can get. Have a frame fixed in the window, 
and make your drawings to fit it. Always make the car¬ 
toon valuable along some special line that the merchant 
or bankers wish to advertise. This method is used mostly 
in the banks of the large cities, for the cartoon tells the 
story without using many words. 

These different kinds of cartoon work will give you 
a good pen technique, good practice in drawing, better 
knowledge of reproduction, and last of all will repay you 
well for the time spent. 




41 




Magazines Most Adaptable and Generally Used 
for Comic Strip Work, Cartooning and Caricaturing 

CHAPTER XII 

The Bystander—London. (Also for daily cartoon 
work.) 

London Opinion—London. 

London Sketch—London. 

London Tit-Bits—London. 

London Punch—London. (Also for daily cartoon 
work.) 

The Passing Show—London. 

London Graphic—London. 

London Tatler—London. 

Pall Mall Gazette—London. 

London Mirror—London. 

Land and Water—London. (Also used for cartoon 
work.) 

FOR COMIC STRIP WORK AND TYPES OF GIRLS 
NOW MUCH USED BY ARTISTS IN THIS COUNTRY. 

Le Rire—Paris. 

La Baionette—Paris. 

Le Ruy Bias—Paris. 

Fantasio-—Paris. 

L’illustration—Paris. 

FOR DAILY CARTOON WORK AND CARICATURE. 

Pasquino—Turin, Italy. 

Numero—Turin, Italy. 

L’Asino—Rome, Italy. 

LL Mulo—Rome, Italy. 


42 




Iberia—Barcelona, Spain. 

De Nieuwe Amsterdammer—Amsterdam. 
De Telegraaf—Amsterdam. 
Kladderadatsch—Berlin. 

Die Muskete—Vienna. 

Tageblatt—Berlin. 

Lustige Blaetter—Berlin. 

J ugend—Munich. 

Der Brummer—Berlin. 

Wieland—Munich. 

Der Guskkasten—Munich. 


43 


Publishers and Syndicates That Buy Cartoons 
and Illustrations 

CHAPTER XIII 

Here are the names of the principal Publishers and 
Syndicates that buy Comics and illustrations. There may 
be others that are not in this list that you perhaps know, 
for there are many of them but I will give you the most 
available list possible at this time. 

ADAMS SYNDICATE, 8 West 45th St., New York. 
AMERICAN PRESS SYNDICATE, 505 5th Ave., N. Y. 
HAMILTON NEWSPAPER SYNDICATE, 2 East 23rd 
St., N. Y. 

INTERNATIONAL FEATURE SERVICE, 729 7th 
Ave., N. Y. (Hearst Papers). 

KING FEATURE SERVICE, 37 West 39th St., N. Y. 
NEWSPAPER FEATURE SERVICE, 37 West 39th 
St., N. Y. 

M’CLURE SYNDICATE, 120 West 32d St., N. Y. 
WHEELER SYNDICATE, 373 4th Ave., N. Y. 

RELL SYNDICATE, World Bldg., N. Y. 

NEW YORK HERALD, 35th and Broadway, N. Y. 
NEW YORK TRIBUNE, 154 Nassau St., N. Y. 

NEW YORK WORLD, Park Row, N. Y. 

LIFE PUBLISHING CO., 17 West 31st St., N. Y. 
LESLIE-JUDGE CO., 225 5th Ave., N. Y. 

CHICAGO TRIBUNE, Chicago, Ill 
CHICAGO HERALD, Chicago, Ill. 

NEWSPAPER ENTERPRISE ASSOCIATION, 200 
West 3rd St., Cleveland, O. 

CENTRAL PRESS ASSOCIATION, 4th St., Cleve¬ 
land, O. 

WORLD COLOR PRINTING CO., St. Louis, Mo. 
INTERNATIONAL SYNDICATE, Baltimore, Md. 


44 



List of the Principal Daily Newspapers of the 

United States and Canada with Approximate 
Circulation 

CHAPTER XIV 
ALABAMA 

Birmingham 

Age Herald . 24,000 

Ledger-. 41,000 

News. 42,000 

Mobile 

Register. 18,000 

News Item. 8,000 

Montgomery 

Advertiser. 30,000 

Journal. 30,000 

Times. 8,000 

ARIZONA 

Phoenix 

Arizona Republican. 10,000 

Arizona Gazette. 8,000 

ARKANSAS 

Fort Smith 

Southwest American. 14,000 

Times Record. 13,000 

Little Rock 

Arkansas Democrat. 24,000 

Arkansas Gazette . 39,000 

Arkansas News. 8,000 

CALIFORNIA 

F resno 

Fresno Herald. 9,000 

Fresno Republican . 28,000 

Los Angeles 

Examiner. 74,000 

Los Angeles Express . 66,000 

Los Angeles Herald. 140,000 

Los Angeles Times. 75,000 


45 























Oakland 

Tribune . 4o,000 

Pasadena 

Star News. 11,000 

Sacramento 

Bee . 34,000 

Star . 10,000 

Union . 11,000 

San Diego 

Sun .. 17,000 

Tribune . 31,000 

San Francisco 

Bulletin . 10,000 

Call and Post. 103,000 

Chronicle . 82,000 

Examiner . 124,000 

News . 58,000 

San Jose 

Murcury Herald. 13,000 

Stockton Herald . 13,000 


COLORADO 


Denver 

Express . 19,000 

Post . 118,000 

Rocky Mountain News . 33,000 

Times . 43,000 

Pueblo 

Chieftain . 8,000 

Star Journal . 11,000 


CONNECTICUT 


Bridgeport 

Post . 44,000 

Hartford 

Cournot. 25,000 

Post 35,000 

New Haven 

Journal Courier. 15,000 

Register . 22,000 


46 





























Times Leader 

Union. 

Waterbury 
Republican . . 


DELAWARE 

Wilmington 

Journal . 

News .. 

Every Evening. 

DISTRICT OF COLUMBIA 

Washington 

Washington Herald . 

Washington Post . 

Washington Star. 

Washington Times ... 

FLORIDA 

Jacksonville 

Florida Metropolis . 

Florida Times Union . 

Tampa 

Times. 

Tribune . 


17,000 

14,000 

13,000 


19,000 

11,000 

14,000 


25,000 

60,000 

98,000 

61,000 


18,000 

32,000 

15,000 

18,000 


GEORGIA 


** Atlanta 

Constitution . 59,000 

Georgian . 58,000 

Journal. 65,000 

Augusta 

Chronicle . 13,000 

Herald . 14,000 

Macon 

News . 23,000 

Telegraph. 24^000 

Savannah 

News . 20,000 

Press. 17,000 


47 

























IDAHO 


Boise 

Statesman 


15,000 


ILLINOIS 

Aurora 

Beacon News. 

Chicago 

American . 

Harold & Examiner. 

Journal. 

News . 

Tribune . 

Danville 

Commercial News. 

Decatur 

Herald . 

Review. 

Joliet 

Herald News. 

Peoria 

Journal . 

Star. 

Transcript . 

Rockford 

Register Gazette. 

Springfield 

Illinois State Journal . 

Illinois State Register . 

News Record . 


16,000 

325,000 

281,000 

108,000 

374,000 

411,000 

14,000 

115,000 

16,000 

18,000 

21,000 

23,000 

14,000 

12,000 

18,000 

24,000 

16,000 


INDIANA 

Evansville 

Courier. 

Journal News . 

Press. 

Fort Wayne 

Journal Gazette . 

News & Sentinel . 


22,000 

16,000 

17,000 

28,000 

33,000 


48 

























Indianapolis 

Indiana Times . 53 qqq 

Indianapolis News .123^000 

Indianapolis Star . 114 000 

Muncie 

Muncie Star . 26,000 

Richmond 

Palladium & Sun Telegram . 

South Bend 

News Times . \J qqq 

, Tribune . 17^000 

Terre Haute 

Star . 26,000 

Tribune . 25,000 


IOWA 


Burlington 

Hawkeye . 12,000 

Cedar Rapids 

Gazette . 14,000 

Republican . 12,000 

Council Bluffs 

Nonpareil . 17,000 

Davenport 

Democrat & Leader.. 17,000 

Times.. 27,000 

Des Moines 

Capitol . 65,000 

News . 48,000 

Register & Tribune . 119,000 

Dubuque 

Telegraff Herald . 16,000 

Marshalltown 

Times Republican. 13,000 

Ottumwa 

Courier . 14,000 

Sioux City 

Journal . 54,000 

Tribune . 51,000 


49 


























Waterloo 

Courier & Reporter 


15,000 


KANSAS 


Topeka 

Topeka Capitol. 37,000 

Topeka State Journal. 26,000 

Wichita 

Beacon . 41,000 

Eagle . 56,000 


KENTUCKY 

Covington 

Kentucky Post. 18,000 

Lexington 

Herald . 11,000 

Leader . 11,000 

Louisville 

Courier Journal . 46,000 

Louisville Herald . 62,000 

Louisville Post . 45,000 

Louisville Times. 59,000 

LOUISIANA 

New Orleans 

Item . 67,000 

New Orleans States . 41,000 

New Orleans Times Picayune. 75,000 

Shreveport 

Times . 18,000 

MAINE 

Bangor 

Commercial . 14,000 

Bangor News . 18,000 

Lewiston 

Journal . 12,000 

Portland 

Express & Advertiser.i. 26,000 

Press. 12,000 


50 























MARYLAND 


Baltimore 

Baltimore American . 72,000 

Baltimore News . 115,000 

Baltimore Star. 49,000 

Baltimore Sun. 176,000 

MASSACHUSETTS 

Boston 

Boston Advertiser... . .. 327,000 

Boston American . 358,000. 

Boston Globe . 288,000 

Boston Herald & Journal . 253,000 

Boston Post ..,. 497,000 

Brockton 

Enterprise. 15,000 

Times. 11,000 

Haverhill 

Gazette. 13,000 

Holyoke 

Telegram . 13,000 

Lawrence 

Tribune . 13 000 

Lowell 

Courier Citizen. 18,000 

Lynn 

Item . 13,000 

New Bedford 

Mercury . 25,000 

Pittsfield 

Berkshire Eagle. 15,000 

Salem 

Salem News. 20,000 

Springfield 

News . 27,000 

Republican. 14,000 

Union.. . . 39,000 

Worcester 

Gazette. 31,000 

51 

























Post . 

Telegram . 


19,000 

31,000 


MICHIGAN 

Battle Creek 

Enquire & News. 

Bay City 

Times Tribune. 

Detroit 

Free Press.. 

Journal . 

Journal. 

N ews . 

Flint 

Journal. 

Grand Rapids 

Herald. 

News .. 

Press. 

Jackson 

Citizen Press. 

Kalamazoo 

Gazette. 

Lansing 

Star Journal. 

Muskegon 

Chronicle. 

Port Huron 

Times Herald. 


11,000 

16,000 


138,000 

106,000 

106,000 

214,000 

25,000 

34,000 

16,000 

81,000 

22,000 

23,000 

25,000 

13,000 

. 11,000 


MINNESOTA 


Duluth 

Herald. 38,000 

News Tribune. 22,000 

Minneapolis 

Journal. 104,000 

News . 71,000 

Tribune . 129,000 

St. Paul 

Dispatch. 81,000 


52 

























News . 77,000 

Pioneer Press. 63,000 

MISSOURI 

Joplin 

Globe. 29,000 

News Herald . 20,000 

Kansas City 

Journal. 47,000 

Post . 168,000 

Times. 448,000 

St Joseph 

Gazette . 19,000 

News Press. 41,000 

St. Louis 

Globe Democrat. 168,000 

Post Dispatch . 148,000 

Republic. 89,000 

Star . 113,000 

Times. 99,000 

Springfield 

Leader . 15,000 

Republican . 13,000 

MONTANA 

Anaconda 

Standard. 11,000 

Butte 

Miner. 15,000 

Post. 14,000 

Great Falls 

Tribune . 13,000 

NEBRASKA 

Lincoln 

Star. 32,000 

State Journal. 34,000 

Omaha 

Bee. 63,000 

News . 82,000 

World Herald. 80,000 


53 



























Manchester 
Union .. 


NEW HAMPSHIRE 


24,000 


NEW JERSEY 

Camden 

Courier. 

Elizabeth 

Journal . 

Hoboken 

Hudson Observer. 

Jersey City 

Jersey Journal. 

Newark 

Ledger . 

News. 

Star Eagle. 

Patterson 

Call . 

News . 

Press Guardian. 

Trenton 

Times. 


NEW YORK 

Albany 

Journal . 

Knickerbocker Press. 

Times Union. 

Binghampton 

Press & Leader. 

Republican Herald . 

Brooklyn 

Citizen. 

Eagle . 

Times. 

Buffalo 

Courier . 

Enquirer. 

Express. 


12,000 

16,000 

39,000 

33,000 

32,000 

92,000 

50,000 

14,000 

11,000 

12,000 

27,000 


16,000 

33,000 

32,000 

28,000 

12,000 

34,000 

46,000 

34,000 

41,000 

31,000 

37,000 


54 

























News . 99,000 

Times. 49,000 

Elmira 

Star Gazette . . .. 27,000 

New York City 

American . 312,000 

Call. 34,000 

Herald . 100,000 

Journal. 658,000 

Mail. 109,000 

Post. 32,000 

Sun. 121,000 

Telegram. 187,000 

Times. 339,000 

Tribune .. 90,000 

Niagara Falls 

Gazette Journal. 12,000 

Rochester 

Democrat & Chronicle... 68,000 

Herald . .. 34,000 

Post Express . 15,000 

Times Union & Advertiser. 60,000 

Schenectady 

Gazette. 21,000 

Union Star . . .. 17,000 

Syracuse 

Herald. 41,000 

Journal . 45,000 

Post Standard . 53,000 

Troy 

Record . 26,000 

Times. 16,000 

Utica 

Herald Dispatch. 21,000 

Observer. 18,000 

Press. 22,000 

Watertown 

Standard. 12,000 

Times. 16,000 


55 

































NORTH CAROLINA 


Ashville 

Citizen. 

Charlotte 

N ews . 

Observer. 

Greensboro 

News . 

Raleigh 

News & Observer 


13,000 

13,000 

18,000 

15,000 

22,000 


NORTH DAKOTA 


Fargo 

Courier News. 15,000 

Forum . 12,000 

Grand Forks 

Herald. 16,000 


OHIO 


Akron 

Beacon Journal. 29,000 

Press. 25,000 

Times. 23,000 

Canton 

News . 13,000 

Repository . 23,000 

Cincinnati 

Commercial Tribune. 55,000 

Enquirer. 54,000 

Post . 217,000 

Times Star. 159,000 

Cleveland 

News . 138,000 

Plain Dealer . 174.000 

Press. 196,000 

Columbus 

Citizen . 79,000 

Dispatch. 73,000 

Ohio State Journal. 54,000 


56 

























Dayton 

Herald & Journal. 

News . 

Lima 

News . 

Portsmouth 

Times . .. 

Springfield 

N ews . 

Sun . 

Toledo 

Blade . 

News Bee. 

Times. 

Youngstown 

Telegram . 

Vindicator . 

Zanesville 

Signal . 

Times Recorder. 

OKLAHOMA 

Muskogee 

Phoenix . 

Times Democrat. 

Oklahoma City 

Oklahoma City Times. 

Oklahoman . 

Oklahoma News. 

Pointer. 

Tulsa 

Democrat . 

Times. 

World. 

OREGON 

Portland 

News . 

Oregonian . 

Oregon Journal . 

Telegram . 


22,000 

36,000 

11,000 

12,000 

14,000 

13,000 

71,000 

91,000 

17,000 

22,000 

24,000 

* 2,000 

19,000 


13,000 

14,000 

40,000 

62,000 

28,000 

17,000 

24,000 

16,000 

24,000 


23,000 

74,000 

64,000 

50,000 


57 




























PENNSYLVANIA 


Allentown 

Call . 

Altoona 

Mirror . 

Times. 

Chester 

Times . 

Erie 

Dispatch . 

Times. 

Harrisburg 

News . 

Patriot . 

Telegraph . 

Johnstown 

Democrat . 

Tribune . 

Lancaster 

Intelligencer . 

McKeesport 

News . 

New Castle 

News . 

Philadelphia 

Bulletin . 

Inquirer . 

North American .... 

Press. 

Public Ledger ...... 

Record . 

Pittsburgh 

Chronical Telegraph . 

Dispatch . 

Gazette Times . 

Leader . 

Post . 

Press . 

Sun . 


22,000 

22,000 

15,000 

11,000 

10,000 

29,000 

28,000 

22,000 

27,000 

11,000 

22,000 

20,000 

11,000 


12,000 

406,000 

170,000 

142,000 

33,000 

188,000 

120,000 

96,000 

61,000 

81,000 

77,000 

75,000 

112,000 

71,000 


58 































Reading 

Eagle . 

News Times—Telegram . 

Scranton 

Republican. 

Times. 

Uniontown 

Herald . 

Wilkes-Barre 

News . 

Record . 

Times Leader . 

Williamsport 

Gazette & Bulletin. 

Sun . 

York 

Dispatch .. 

Gazette •. 

RHODE ISLAND 

Pawtucket 

Times . 

Providence 

Bulletin . 

Journal . 

Tribune . 

W oonsocket 

Call & Reporter . 

SOUTH CAROLINA 

Charleston 

News & Courier. 

Post . 

Columbia 

Record . 

State . 

Greenville 

News . 

SOUTH DAKOTA 

Sioux Falls 

Argus Leader . 


29,000 

16,000 

28.000 

36,000 

11,000 

12,000 

15,000 

21,000 

12,000 

16,000 

13,000 

15,000 


23,000 

54,000' 

31,000 

28,000 

11,000 


11,000 

12,000 

12,000 

25,000 

10,000 


15,000 


59 

























TENNESSEE 


Chattanooga 

News . 

Times . 

Knoxville 

Journal & Tribune. 

Sentinel . 

Memphis 

Commercial Office . 

News-Scimitar . 

Press . 

Nashville 

Banner . 

Tennessean . 

TEXAS 

Austin 

Statesman . 

Beaumont 

Enterprise . 

Dallas 

Dispatch . 

Journal . 

News . 

Times Herald . 

El Paso 

Herald . 

Times .. 

Fort Worth 

Record . 

Star Telegram .. .. 

Houston 

Chronicle . 

Post . 

Press . 

San Antonio 

Express. 

Light . 

Waco 

News-Tribune. 


21,000 

30,000 

24,000 

26,000 

89,000 

57,000 

29,000 

50,000 

70,000 


10,000 

19,000 

28,000 

47,000 

59,000 

37,000 

27,000 

15,000 

25,000 

65,000 

54,000 

40,000 

18,000 

37,000 

28,000 

11,000 


60 



























UTAH 


Salt Lake City 

Desert News . \g qqq 

Herol .;;; 18 ;ooo 

Telegram . 29,000 

Tribune . 39,000 

VERMONT 

Burlington 

Free Press . 11,000 

VIRGINIA 

Bristol 

Herald Courier. 11 000 

Lynchburg 

News . 11,000 

Newport News 

Times Herald . 13,000 

Norfolk 

Ledger Dispatch . 39,000 

Virginian Pilot . 34,000 

Richmond 

Journal. 22,000 

News Leader . 45,000 

Times Dispatch. 33,000 

Virginian . 16,000 

Roanoke 

Times . 11,000 

World News. 12,000 

WASHINGTON 

Ballingham 

Herald . 10,000 

Everett 

Eterald . 11,000 

Seattle 

Post Intelligencer . 51,000 

Star. 77.000 

Times. 68,000 

Spokane 

Chronicle . 43,000 

Spokesman Review . 43,000 


61 

























Tacoma 

Ledger . 

News Tribune. 

Times . 

WEST VIRGINIA 

Charleston 

Gazette. 

Wheeling 

News . 

WISCONSIN 

Green Bay 

Press Gazette . 

La Crosse 

Tribune & Leader Press. 

Madison 

Wisconsin State Journal . 

Milwaukee 

Journal. 

Sentinel . 

Wisconsin & News. 

Oshkosh 

Northwestern . 

Superior 

Telegram . 


CANADA 

ALBERTA 

Calgary 

Albertan . 

Herald . 

Edmonton 

Bulletin . 

Journal. 

BRITISH COLUMBIA 

Vancouver 

Province . 

Sun. 

World ..\\\\' 


15,000 

38,000 

14,000 


15,000 

15,000 

11,000 

13,000 

15,000 

118,000 

79,000 

75,000 

14,000 

16,000 

15,000 

23,000 

13,000 

17,000 


53,000 

18,000 

17,000 


62 

























MANITOBA 


Winnipeg 

Manitoba Free Press 

Telegram . 

Tribune . 


Regina 
Leader 
Post . 
Saskaton 
Star .. 


SASKATCHEWAN 


82,000 

39,000 

37,000 


21,000 

12,000 

22,000 


NEW BRUNSWICK 


St. John 

Standard . 14>0 00 

telegraph & Sun . 14000 

Times & Star . 7 .'!! 7 l^OOO 

NOVA SCOTIA 

Halifax 

Chronicle . 14 000 

Herald & Mail . 27 000 


ONTARIO 


Hamilton 

^ erald . 16,000 

Spectator . 30,000 

• Times . 11,000 

London 

Advertiser . 43,000 

Free Press . 39 ,000 

Ottawa 

Citizen . 28,000 

Journal Press . 23 000 

Toronto 

2 •••••• . 84,000 

News .. 50,000 


84,000 


63 


























Telegram . 85,000 

World . 30,000 

Windsor 

Border Cities Star. 10,000 

QUEBEC 

Montreal 

Gazette . 34,000 

Herald . 21,000 

News . 23,000 

Press . 154,000 

Star . Ill,000 

Quebec 

Chronicle . 12,000 

Erenement . 18,000 

Soleil . 39,000 

Telegraph . 14,000 

Sherbrook 

Record . 10,000 


64 
















































































































































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